Easter Rising - a striking and evocative set of String Works by Hugh Shrapnel from the Tippett Quartet

Last summer I had the pleasure of meeting with composer Hugh Shrapnel to discuss his music (see here), and he talked then of his next project, a recording of string works with the Tippett Quartet. The recording, Easter Rising, is now out on Convivium Records, and contains four works, with a thread of protest, political struggle and striving for social justice and peace connecting them. Easter Rising 1916, which gives the recording its title, is the most overtly political piece, and has an additional part for the Irish fiddle, played her by Jo Cooper. It was composed in 2016 for Cornelius Cardew Concerts Trust at Morley College London to mark the centenary of the Easter Rising, a rebellion by Irish Republicans that was brutally suppressed by the British. The subsequent execution of sixteen of the leaders of the Rising, as well as the civilian casualties, and internment of prisoners, galvanised support for independence, leading to the Irish War of Independence (1919-21) and the creation of the Irish Free State in 1921. Shrapnel’s piece, in five sections, begins with a mournful Irish song melody on the violin, over drones from the lower music, evoking the long Irish history of Irish struggle and song. The other instruments join and entwine with the melody, and then more insistent repeated rhythmic figures increase the intensity, as if in debate, as the preparations are made for the Rising. The swirling tune of the song We Only Want the Earth by James Connolly, one of the Rising’s leaders, dominates the middle section depicting the Rising itself, before the music subsides into sadness for the Aftermath, a lament for the executed leaders (including James Connolly). Then the folk tune, The Foggy Dew emerges on the Irish fiddle, with simple background from the other instruments, save the occasional echo from the quartet’s first violin. The reemergence of Irish song takes the work full circle, with a quiet defiance and recognition of Ireland’s history of struggle, with an equally defiant energy from the quartet to finish. Overall, this is a highly engaging and striking piece, somehow capturing feelings of frustration, despair and loss, as well as anger, defiance and hope. Appropriately, the work is followed on the recording by a new work, For Peace, written for and dedicated to the Tippett Quartet for this recording. It is described as ‘an expression for yearning for peace in our increasingly troubled and divided world’, signalling that the struggle for justice and peace goes on. It begins quietly, and a long sustained violin line emerges over even longer notes from the lower instruments. Yearning and crying comes from insistent, rising repetitive figures. Rather than a soothing, peaceful piece, in its brief five and a half minutes, this is an elegiac yet pained plea for much needed peace. 
 
The disc opens with another work composed for a CCCT concert at Morley College, for which the theme was One World, with two accompanying poems writte by Carol Rumens, this time for piano quintet. The first, The Hazel Nut (Posing The Problem) draws on one of Julian of Norwich’s Revelations of Divine Love, in which she dreamt that the world was contained in a hazel nut in the palm of her hand. Her second poem, Circling the Square (posing the Solution) expresses a hope that people rediscover the importance of all matter and reconnect with the world and each other. Shrapnel’s piece opens with dancing, circling rhythms from the strings, then the piano enters with ethereal chords over a drone from the cello, as the violins continue to skitter above. Then the energy slows, with the piano taking over the role of skittering about. The piano takes up the repeated figures and the violins sing more lyrically above, before the piano shatters the mood with more dramatic stabbing, with the strings following. String harmonics over low piano and cello drone add to the overall sense of mystery, before the opening dancing material returns, before being finally transformed into a more joyful folk dance with ringing bells from the piano which ultimately subsides into a gently peaceful conclusion. Again, Shrapnel successfully captures moods and emotions without being tied down to anything too literal in terms of the poetry.
 
Nascence, for string quartet and piano, was composed for the CCCT concert at Morley College in 2017, the theme being Born to Society, a poem written by Canadian communist Hardial Bains, which calls for a ‘world which is humanised’, with an end to ‘anger and strife’. Shrapnel’s work is driving and energetic, and in fact opens full of ‘anger and strife’, with driving rhythmic figures and astringent harmonies. Whilst the central section hints at calmer waters, it soon regains the frenzy of the opening section. It is only as the piano’s repeated low tolling reins the strings into calmness that lyricism from the violins and then the rest of the quartet can emerge, yet the piano continues to toll defiantly to the end. It’s a subtle shift perhaps from ‘anger and strife’ to ‘the expression of what is alive’ – but then, in the context of some of the other themes on this recording, maybe an element of anger is still needed to keep the struggle for peace and justice alive.
 
Throughout this recording, the Tippett Quartet play with incision and energy, as well as warm tone in the more lyrical moments. Lynn Arnold brings resonance and authority to the piano parts in the two opening works, and Jo Cooper’s contribution on the Irish fiddle at the close of Easter Rising 1916 adds a beautifully evocative touch. Clearly, some of these pieces have direct roots in poetry, and in his interview with me, Hugh described his work as often ‘descriptive, of a mood – poems in music’. The importance of the environment, community and political issues also shines through once again here, making for another fascinating and diverse selection of his music, a welcome addition to previous recordings of his piano and chamber works (links for these can be found here). 

Shrapnel, Hugh. (2025). Easter Rising: String Works. Tippett Quartet, Lynn Arnold, Jo Cooper. Compact Disc/Download. Convivium Records. CR125. 

Royal Opera revival of La Fille du régiment delights with fresh fizz

Sara Blanch (Marie) & Juan Diego Flórez (Tonio)
© RBO/Tristram Kenton

Yves Abel (Conductor)

Laurent Pelly (Director & Costume Designer)

Dan Dooner (Revival Director)

Agathe Mélinand (Dialogue)

Chantal Thomas (Set Designer)

Joël Adam (Lighting Designer)

Laura Scozzi (Choreographer)

Karine Girard (Revival Choreographer)

Royal Opera Chorus

William Spaudling (Chorus Director)

Orchestra of the Royal Opera House

Magnus Johnston (Concert Master)

Juan Diego Flórez (Tonio)
© RBO/Tristram Kenton

Sara Blanch (Marie)

Juan Diego Flórez (Tonio)

Paolo Bordogna (Sulpice Pingot)

Sonia Ganassi (La Marquise de Berkenfield)

Donald Maxwell (Hortensius)

Eugene Dillon-Hooper (Corporal)

Luke Price (Peasant)

Jean-Pierre Blanchard (Notary)

Tamsin Greig (La Duchesse de Crakentorp)

7.30pm, Tuesday 7 July 2026

Royal Opera, Covent Garden, London

★★★★

Donizetti, Gaetano (1797-1848): La fille du régiment, Opera comique

(Libretto de Saint-Georges, Jules-Henri Vernoy (1799-1845) & Bayard, Jean-François-Alfred (1796-1853))

Sara Blanch (Marie), Juan Diego Flórez (Tonio)
& Paolo Bordogna (Sulpice)
© RBO/Tristram Kenton

'Laurent Pelly’s sparkling production of Donizetti’s La Fille du régiment is back at The Royal Opera, and based on last night’s opening performance, the fizz is as fresh as ever'.

'Making her Royal Opera debut as Marie, Sara Blanch was frankly astonishing. She is the complete package, with impeccable comic timing and convincing physical comedy, but also phenomenal vocal technique, whether upright, lying down or being held aloft by a chorus of soldiers'.

'He also still has that ability to flip from Harold Lloyd-esque comedy and highwire vocal gymnastics to winning hearts in the sustained lyricism of 'Pour me rapprocher de Marie''.

'Tamsin Greig’s splendid turn as the stuffy Duchess was in danger of stealing the show, even managing to make the shoe-horned World Cup jokes land, and maintaining character right to the curtain call'.

Tamsin Greig (Duchesse de Crakentorp) and chorus
© RBO/Tristram Kenton

'So raise a glass of bubbly to this effervescent and polished evening of joyful nonsense, and to the strong performances all round, not least from Flórez and especially Blanch – here’s hoping for more from her at Covent Garden in the future'.

Read my full review on Bachtrack here.

Glyndebourne’s Billy Budd makes a welcome return, fresh and devastating as ever

The Glyndebourne Chorus in Billy Budd
© Glyndebourne Productions Ltd. Photo: Tristram Kenton

Nicholas Carter (Conductor)

Michael Grandage (Director)

Ian Rutherford (Revival Director)

Christopher Oram (Designer)

Paule Constable (Lighting Designer)

Mark Ruddick (Flight Director)

London Philharmonic Orchestra

Pieter Schoeman (Leader)

The Glyndebourne Chorus

Aidan Oliver (Chorus Director)

Thomas Mole (Billy Budd)
© Glyndebourne Productions Ltd. Photo: Tristram Kenton

Allan Clayton (Captain Vere)

Michael Wallace (First Mate)

John Mackenzie-Lavansch (Second Mate)

William Thomas (Mr Flint)

Michael Ronan (Bosun)

Samuel Dale Johnson (Donald)

Ru Charlesworth (Maintop)

Laurence Kilsby (Novice)

Daniel Norman (Squeak)

Dingle Yandell (Mr Redburn)

Daniel Okulitch (Lieutenant Ratcliffe)

Sam Carl (Claggart)

Alasdair Elliott (Red Whiskers)

Adam Marsden (Arthur Jones)

Thomas Mole (Billy Budd)

Alex Otterburn (Novice's Friend)

Clive Bayley (Dansker)

Gabriel Elliott Rous (Cabin Boy)

Sam Carl (Claggart) & Daniel Norman (Squeak)
© Glyndebourne Productions Ltd. Photo: Tristram Kenton

5pm, Thursday 2 July 2026

Glyndebourne, East Sussex

★★★★

Britten, Benjamin (1913-1976): Billy Budd, Op. 50

(libretto by Forster, E.M. (1879-1970) & Crozier, Eric (1914-1994))

'Thomas Mole's Billy, full of wide-eyed innocence, held onto his blind belief in Captain Vere right to the very end, despite evidence to the contrary, and was convincingly moving throughout'.

'Allan Clayton's steely tenor was impressive as ever as Vere, and the transition from the troubled and flawed captain to the haunted old man of the Prologue and Epilogue, reflecting on his failure to protect and save Billy, was powerfully moving'. 

William Thomas (Mr Flint), Allan Clayton (Captain Vere)
& Dingle Yandell (Mr Redburn)
© Glyndebourne Productions Ltd. Photo: Tristram Kenton

'Sam Carl (Claggart) had the vocal range and ... his baritone was penetratingly evil'.

'The chorus excelled at full-voice, as well as in their quiet chanting resignation, and their choreographed resistance and rapid movement around the levels of the set were solid and convincing'.

'Nicholas Carter conducted the London Philharmonic Orchestra with precision and energy, bringing brilliance to Britten’s searing score, especially from the gleaming brass'. 

Clive Bayley (Dansker), Alasdair Elliott (Red Whiskers),
Samuel Dale Johnson (Donald) & Alex Otterburn (Novice's Friend)
© Glyndebourne Productions Ltd. Photo: Tristram Kenton 

Read my full review on Bachtrack here.

Improvisatory Gershwin from Ryan Wang in a boldly energetic Chromatica programme

Ewan Millar and Chromatica Orchestra
© Monika Jakubowska

Ryan Wang (piano)

Nick Walker (trumpet)

Ewan Millar (cor anglais)

Ingunn Korsgård Hagen (conductor)

Jonathan Gibson (conductor)

Students from Bobby Moore Academy

Chromatica Orchestra

Maren Bosma (leader)

7.30pm, Wednesday 17 June 2026

Grand Hall, Battersea Arts Centre, London

★★★★

Ryan Wang and Chromatica Orchestra
© Monika Jakubowska

Copland, Aaron (1900-1990): Quiet City

Gerwshin, George (1898-1937): Rhapsody in Blue

Encore:

Mozart, Wolfgang Amadeus (1756-1791): Piano Sonata no. 11 in A major, K331: Rondo alla Turca (arr. Volodos, Arcadi (b.1972)/Say, Fazil (b.1970)/Wang, Ryan?)

Bernstein, Leonard (1918-1990):  Symphonic Dances from 'West Side Story': 'Mambo'

Ives, Charles (1874-1954): Central Park in the Dark

Bernstein, Leondard: Suite from 'Fancy Free'

'Rhythms were tight, intonation solid and ensemble strong, and they were at the programme’s centre, rather than tucked away in pre-concert event'.

'The trumpet carries the questioning solo line, with the cor anglais a kind of echoing reminder, and this came across well in Walker’s assured yet nervy entries, and Millar’s mournful, mellow tones'. 

Ingunn Korsgård Hagen conducts Chromatica Orchestra
© Monika Jakubowska

'The spirit of the performance and the clear enjoyment of the Chromatica players held it all together, with sprightly tempi set by Wang and Korsgård Hagen...Wang returned for a bravura jazzed-up encore of Mozart’s Rondo alla turca.'.

'With drunken waltzes, jazzy piano moments and cheeky swagger (with sailor hats) from the drummer and pianist, they had great fun, whilst negotiating those complex rhythms with ease'.

'They all had a ball, and that communicated to the audience, bringing their programme full of energetic rhythm and bombast but also atmospheric nuance to a joyful close'.

Read my full review on Bachtrack here.

Ingunn Korsgård Hagen conducts Chromatica Orchestra
© Nick Boston

Ryan Wang and Chromatica Orchestra
© Nick Boston

Tavener's Krishna fails to convince in world premiere at Grange Park Opera

Brett Polegato (Krishna)
© Marc Brenner

Mark Shanahan (Conductor)

David Pountney (Director)

Rachana Jadhav (Designer)

Shobana Jeyasingh (Choreographer)

Catarina Carvalho (Dancer Rehearsal Director)

Tim Mitchell (Lighting Designer)

Ross Ramgobin (Celestial Narrator)

Rosa Sparks (Krishna - child)

Eliran Kadussi (Krishna - adolescent)

Elgan Llŷr Thomas (Krishna - young man)

Brett Polegato (Krishna - man)

Sara Fulgoni (Yashoda, Bhumi)

Nazan Fikret (Rukmini)

Julia Sitkovetsky (Radha - woman)

Eliran Kadussi (Krishna as adolescent)
© Marc Brenner

Jennifer Statham (Radha - child)

Nao Masuda (Drummer)

Tabitha O'Sullivan, Mirabel Huang-Smith, Chia-Yu Hsu, Kynda Ng, Ella Pileggi, Yanki Yau (Dancers)

The Gascoigne Orchestra

Robert Salter (Leader)

5pm, Thursday 4 June 2026

World premiere

Grange Park Opera, Surrey

★★★

Tavener, John (1944-2013): Krishna: A Mystical Pantomime

(libretto by Tavener, John, with inspiration and some text by Prime, Ranchor (b.c.1950))

Krishna at Grange Park Opera
© Marc Brenner

'Tavener’s music is ... relatively successful in places, with a kind of meditative build in tension, although we are kept waiting for a fair while before any sense of climax'.

'Rachana Jadhav’s design of the temple staging, combines with effective lighting from Tim Mitchell do create a colourful and pleasing backdrop to the ‘action’, as do the vibrant costumes'.

'Sopranos Julia Sitkovetsky (Radha) and Nazan Fikret (Rukmini) stood out as the most impressive voices of the evening, their ‘uniting’ duet almost eclipsing the love duet between Radha and Krishna'.

'Mark Shanahan conducted the Gascoigne Orchestra with controlled precision, and moments of glistening brass and bells brought the score to life, as did the ‘aerial’ flutes up in the high balcony'.

Krishna at Grange Park Opera
© Marc Brenner

'An unpublished work of a deceased composer must always be a great temptation, but on this occasion, sadly, it might have been best left alone'.

Read my full review on Bachtrack here.

Nazan Fikret (Rukmini) & Julia Sikovetsky (Radha as woman)
© Marc Brenner

Václav Luks and the OAE deliver creative colour and operatic scale in Haydn's Creation

Nick Pritchard, Václav Luks
& the Orchestra of the Age of Enlightenment
© Mark Allan

Robin Johannsen (soprano, Gabriel & Eve)

Nick Pritchard (tenor, Uriel)

Krešimir Stražanac (bass-baritone, Raphael & Adam)

Choir of the Age of Enlightenment

Orchestra of the Age of Enlightenment

Huw Daniel (leader)

Václav Luks (conductor)

7pm, Wednesday 27 May 2026

Royal Festival Hall, London

★★★★

Haydn, Joseph (1732-1809): Die Schöpfung (The Creation), Hob. XXI:2

The Choir & Orchestra of the Age of Enlightenment
© Mark Allan

'From the opening rumbling strings, joined by agile bassoon triplets, Luks created perfect mystery in the strange unresolved cadences ...The choir responded with a controlled pianissimo, giving the ‘shock’ of the forte arrival of 'Licht!' an appropriately impressive impact'.

'Tenor Nick Pritchard (Uriel) was the most directly communicative of the soloists, with commanding recitative, and a beautifully refined 'Mit Würd’ und Hoheit angetan', with delicate flute filigree'.

'Soprano Robin Johannsen (Gabriel and Eve) was a late change to the line-up, but her bright coloratura and fluttering tone were a delight, and her duets with Stražanac (now Adam) were sensitively characterised, as was his slightly mischievous Figaro-esque delivery'.

'What was most impressive was (the choir's) ability to work at speed, especially some of Luks’ most enthusiastic tempi'. 

Robin Johannsen
& the Orchestra of the Age of Enlightenment
© Mark Allan

'Luks, the OAE, choir and soloists certainly brought the full range of Haydn’s ambitious masterpiece to life, while also demonstrating their ability to bring colour and nuance to the fore'.

Read my full review on Bachtrack here.

Brighton Philharmonic play their socks off at the Brighton Festival

Joanna MacGregor conducting the
Brighton Philharmonic Orchestra
© Fernando Manoso

William Kentridge (director)

Brighton Philharmonic Orchestra

Joanna MacGregor (conductor)

'Oh To Believe in Another World'

Brighton Festival

8pm, Sunday 17 May 2026

Brighton Dome

★★★★

Shostakovich, Dmitri (1906-1975): Symphony No. 10 in E minor, Op. 93

Oh To Believe in Another World
- film by William Kentridge

'Could (the BPO) rise to the challenge of Shostakovich’s mighty Tenth Symphony? Happily, yes they could, with some of the best playing I have ever heard from them'.

'Their skittering race fitting well with Kentridge’s ironic imagery on film of bustling transport and crowds, later skewering the idea of relentless progress with shots of the realities of harsh manual labour'

'Principal Horn Alexei Watkins delivered Elmira’s motif with secure warmth, while the flutes and piccolos screamed the D-S-C-H motto'.

'From the orchestra, we had a wonderfully acerbic solo from bassoonist Jonathan Price, and the brass hammering out that D-S-C-H motto at the conclusion certainly cried out defiance'.

'Neither the film nor the music gave us a clear answer, but the combined effect was nevertheless emphatically powerful'. 

Read my full review on Bachtrack here.